{"id":1978,"date":"2022-06-03T15:32:21","date_gmt":"2022-06-03T13:32:21","guid":{"rendered":"https:\/\/www.vaia.eu\/when-music-meets-sustainability\/"},"modified":"2023-03-24T12:49:14","modified_gmt":"2023-03-24T11:49:14","slug":"when-music-meets-sustainability","status":"publish","type":"post","link":"https:\/\/www.vaia.eu\/de\/when-music-meets-sustainability\/","title":{"rendered":"When music meets sustainability"},"content":{"rendered":"

The destinies of VAIA and of the Italian band <\/span>Eugenio in Via Di Gioia<\/b> could not have crossed paths in a more auspicious way.<\/span><\/p>\n

On 26 September 2019 the \u201cEugenii\u201d (plural of Eugenio) have issued <\/span>Lettera al Prossimo<\/span><\/i>, a digital platform inspired by the homonymous track from their album <\/span>Natura Viva<\/span><\/i>, with a <\/span>fundraising campaign for the replanting of the Paneveggio forest<\/b>, in Trentino (Italy).<\/span><\/p>\n

Just two weeks earlier, on 12 September 2019, VAIA was formally born with the aim of giving new life to those logs broken by the storm.<\/span><\/p>\n

The Turin-based group and VAIA turned music and positive energy into action, inspired by the need to send a concrete signal after the devastation of 2018. <\/span><\/p>\n

The first notes of <\/span>A met\u00e0 strada<\/span><\/i><\/a>, their latest single, came out on 27 November right from the <\/span>larch cone of the VAIA Cube<\/b>. For the preview, <\/span>the Eugenio gave our amplifier to twenty friends from the music world<\/span><\/a>, and the collaboration blossomed. <\/span><\/p>\n

But where do the roots of this partnership lie? To find out, let’s take a small step back to tell you who Eugenio in Via Di Gioia, one of the most recent revelations on the Italian music scene, are and where they come from. <\/span>
\n<\/span>(NB: the English translations of their lyrics and song titles provided below fall exclusively under our responsibility.)<\/span><\/i><\/p>\n

From the streets to the tip of the iceberg<\/strong><\/p>\n

Eugenio Cesaro was 18 years old when he started out strumming a guitar under the arcades of Turin, repeating the usual five songs he knew. The road taught him everything: Cesaro’s busker experience is now reflected in the band’s extraordinary ability to entertain, as evidenced by the <\/span>impromptu performance<\/span><\/a> set up for the passengers stuck on the Rome-Turin route, which earned them the attention of Linus, a renowned Italian radio speaker.  <\/span><\/p>\n

Their first concert was in October 2012. Cesaro and Emanuele Via were joined in extremis by Paolo Di Gioia, <\/span>whom they met the day before the gig<\/span><\/a>, as the frontman says. Thus Eugenio in Via Di Gioia was born.<\/span><\/p>\n

\"i<\/p>\n

Their first album, <\/span>Lorenzo Federici<\/span><\/i> (2014), was named after the fourth member of the group \u2013 a democratic gesture, they say. It was followed by <\/span>Tutti Su per Terra <\/span><\/i>(2017), an album that  combines the mocking and self-deprecating mood of the previous tracks with the <\/span>first environmental references<\/b>: „I am one of many young people enlightened by an energy-saving reality“, they sing in <\/span>Giovani Illuminati<\/span><\/i>, in which the internet offers unlimited access to knowledge, but also causes a lot of loneliness. In <\/span>Scivola<\/span><\/i><\/a> (<\/span>Slipping<\/span><\/i>), the theme of <\/span>deforestation<\/b> recalls a lack of roots that is not only literal: under the daily bombardment of news reports, „the world has become impermeable“ \u2013 and yet the „landslide that makes the news if it rumbles down the valley“ cannot but refer to hydrogeological instabilities and to the soil impermeability caused by overbuilding. <\/span><\/i><\/p>\n

La punta dell\u2019iceberg<\/span><\/i><\/a> (<\/span>The tip of the iceberg<\/span><\/i>) is one of the clearest examples of Eugenio’s conscience. In this exercise of imagination of a world in 2050, they hilariously cover issues relating to <\/span>sustainable food<\/b>, overpopulation, demographic ageing, the <\/span>melting of the Poles<\/b>, the rising seas, mass extinction and globalisation. With their characteristic mordant attitude, the melting of ice yields a „sweet sea without salt \/ diluted so much that we can bottle it“, while the knowledge built as a product of progress is pictured as a head that, coming out of the water, „doesn’t see its own submerged body“, just as „the tip of the iceberg is the whole iceberg, [and] the rest is gone“.<\/span><\/p>\n